{'It’s like they’ve erupted out of someone’s subconscious': how horror has taken over contemporary film venues.

The largest surprise the cinema world has encountered in 2025? The return of horror as a leading genre at the British cinemas.

As a genre, it has notably surpassed previous years with a 22% rise compared to last year for the UK and Ireland film earnings: over £83 million this year, versus £68 million the previous year.

“Last year, no horror film reached £10m at the UK or Irish box office. This year, five films have,” notes a box office editor.

The major successes of the year – Weapons (£11.4m), another hit film (£16.2m), the latest Conjuring installment (£14.98m) and the sequel to a classic (£15.54m) – have all hung about in the cinemas and in the audience's minds.

While much of the industry commentary highlights the unique excellence of renowned filmmakers, their achievements point to something shifting between viewers and the category.

“Many have expressed, ‘You should watch this even if horror isn’t your thing,’” states a content buying lead.

“Such movies experiment with style and format to produce entirely fresh content, connecting with viewers on a new level.”

But beyond creative value, the consistent popularity of spooky films this year suggests they are giving cinemagoers something that’s much needed: catharsis.

“Right now, there’s a lot of anger, fear and division that’s being reflected in cinema,” observes a genre expert.

“Horror films are great at playing into people’s anxieties, while at the same time exaggerating them. So you forget about your day-to-day anxieties and focus on the monster on the screen,” explains a noted author of vampire and monster cinema.

In the context of a real-world news cycle featuring war, border tensions, far-right movements, and environmental crises, witches, zombies and vengeful spirits strike a unique chord with filmg oers.

“I read somewhere that the success of vampire movies is linked to economically depressed times,” states an actress from a successful fright film.

“This symbolizes the way modern economies can exhaust human spirit.”

Historically, public discord has always impacted scary movies.

Experts point to the surge of European artistic movements after the WWI and the turbulent times of the 1920s Europe, with films such as classic silent horror and a pioneering fright film.

Later occurred the 1930s depression and classic monster movies.

“Consider the Dracula narrative: an outsider from the east brings a corrupting influence that permeates society and challenges its heroes,” explains a commentator.

“So it reflects a lot of anxieties around immigration.”

The boogeyman of migration influenced the just-premiered rural fright The Severed Sun.

The creator explains: “My goal was to examine populist trends. For instance, nostalgic phrases promising a return to a 'better' era that excluded many.”

“Additionally, the notion that acquaintances might unexpectedly voice extreme views, leaving others shocked.”

Maybe, the present time of celebrated, politically engaged fright cinema began with a brilliant satire debuted a year after a divisive leadership period.

It introduced a fresh generation of innovative filmmakers, including a range of talented artists.

“It was a hugely exciting time,” says a director whose movie about a violent prenatal entity was one of the time's landmark films.

“I think it was the beginning of an era when people were opening up to doing a really bonkers horror film which had arthouse aspirations.”

This creator, now penning a fresh horror script, notes: “During the past decade, viewers have become more receptive to such innovative approaches.”

Concurrently, there has been a reconsideration of the genre’s less celebrated output.

Earlier this year, a nicke l venue opened in London, showing cult classics such as The Greasy Strangler, a classic adaptation and the modern reinterpretation of the expressionist icon.

The renewed interest of this “gritty and loud” genre is, according to the theater owner, a straightforward answer to the formulaic productions pumped out at the theaters.

“This responds to the sterile output from major studios. Today's cinema is safer and more repetitive. Many popular movies feel identical,” he says.

“Conversely, [such movies] appear raw. As if they emerged straight from the artist's mind, untouched by studio control.”

Scary movies continue to upset the establishment.

“They have this strange ability to seem old fashioned and up to the minute, both at the same time,” says an expert.

In addition to the revival of the mad scientist trope – with multiple versions of a well-known story upcoming – he predicts we will see scary movies in the coming years responding to our present fears: about artificial intelligence control in the near future and “supernatural elements in political spheres”.

Meanwhile, “Jesus horror” a forthcoming title – which narrates the tale of holy family challenges after the nativity, and includes famous performers as the holy parents – is planned for launch soon, and will undoubtedly cause a stir through the Christian right in the United States.</